Monthly Archives: January 2012

With the new Yamaha DXR and DXS powered speaker line, introduced at Winter NAMM 2012, great performing, high fidelity sound reinforcement has never been so affordable or easy to use. Offering high-end features in a convenient and economical package, the new speakers allow for mixing capabilities right on the back panel and innovative use of advanced DSP to provide extra protection for each component. In the DXR series, FIR-X™ tuning derived from Yamaha’s DSR speaker line delivers excellent sound no matter the volume. Bands, small combos, solo musicians, DJs, churches, schools and other individuals and organizations who require top-quality sound reinforcement will benefit from DXR and DXS quality, which offers the loudest SPL volume in its class. The speakers are so advanced that not only do they offer unique features like a Link function, they also provide DSP assisted EQ (Dynamic COUNTOUR) that tailors the frequency response when used as floor monitors. “By exploiting the DSP in these new cabinets, the DXR and DXS sound great right out of the box,” said John Schauer, Product Manager, Live Sound, Yamaha Pro Audio & Combo Division. “The FIR-X filtering ensures that these cabinets perform under all circumstances, even at very high levels.”

The D-XSUB feature on the DXS subwoofers, a newly developed processing technology designed exclusively for the subs, dynamically controls the low frequency range. A BOOST mode provides enhanced punch to the sound and XTENDED LF mode enhances the bottom of the low frequency range. The selection will depend on the type of applications and musical genres.

Audio -Technica Marks “50 Years of Passionate Listening”

Audio_Technica a leading innovator in transducer technology, is marking “50 Years of Passionate Listening” with its yearlong 50th Anniversary Celebration in 2012, including several limited edition commemorative products, special events and promotions for customers. From its early beginnings as a manufacturer of phonograph cartridges, Audio-Technica has expanded over the years to become a leading innovator in the design of microphones, wireless microphone systems, headphones, turntables, phono cartridges and more. A-T continues to advance the art and technology of electro-acoustic design with the manufacture of products for the professional recording, M.I., live sound, broadcast, fixed installation and consumer audio markets. On this historic occasion, Audio-Technica is taking the opportunity to look back, with a view toward the future.

The LE/Anniversary limited editions, feature A-T’s classic silver-colored metallic finish with blue accents, and the AT4050URUSHI sports a stunning traditional urushi lacquer finish with hand- painted Japanese maple leaves. The AE4100/LE, AE5400/LE, AE6100/LE, AT4050/LE, AT4050URUSHI and ATM25/LE all feature a unique anniversary serial number etched on the surface of each model. The AE5400/LE, AT4050/LE and AT4050URUSHI come with a specially designed, beautifully hand-crafted wooden carrying case.
Of special note is the ATM25/LE, a re-emergence of the classic ATM25 Hypercardioid Dynamic Instrument Microphone. Based on direct input from end-users and dealers, Audio- Technica chose its 50th anniversary to bring back a special edition of the classic ATM25. The new ATM25/LE is ideal for kick drum, toms and other highly dynamic instruments; handles very high SPL at close range; provides big, warm low-frequency response with excellent presence; offers very full sound on close-up vocals and dialogue; and features a multi-level grille and rugged construction.

They introduced the PRX400 Series of passive portable loudspeakers, designed to bring true professional-quality performance, power handling and durability to more affordable price points. The new JBL PRX400 Series includes the 15-inch PRX415M, 12-inch PRX412M and dual 15-inch PRX425 loudspeakers, as well as the 18-inch PRX418 subwoofer.

The PRX415M and PRX412M can be used as either mains or monitors, and when used with the PRX418 subwoofer, provide a sat/subwoofer system capable of delivering 135dB of full-range, high-quality sound. The PRX425 dual-15-inch, 2-way speaker is ideal for DJs and bands that require powerful low-frequency extension from the convenience of a standalone cabinet.

JBL PRX400 loudspeakers are designed to work hand in hand with Crown Audio’s powerful and innovative XTi2 Series amplifiers. Crown XTi2 amplifiers incorporate enhanced pre-set performance tunings for PRX400 Series loudspeakers, including crossover points for a sat/subwoofer setup, and optimized parametric filter that bring out the full potential of PRX400 Series loudspeakers. JBL PRX400 tunings will also be available in the dbx DriveRack® PA+ signal processor/complete loudspeaker management system.

JBL PRX400 Series loudspeakers offer versatile installation options. All full-range models incorporate twelve M-10 suspension points and hardened steel eyebolts for safe hanging in light-duty installations. Built-in dual-angle pole-mount sockets enable the PRX415M and PRX412M to be mounted either straight out or at a 10-degree downward angle to deliver the best audience coverage pattern. With a 10-degree down angle, the speakers can be aimed down at the audience, keeping sonic reflections off the back wall for better clarity and more efficient coverage. In addition, all PRX400 models feature ergonomic handles made from road-tough, lightweight glass-filled nylon.

This just one of the products released.
Radial Engineering Ltd. is pleased to announce the Firefly tube direct box, a fully discrete class-A unity gain amplifier designed for both studio and live performance.The Firefly begins with two inputs, each of which features a separate level control to enable the artist to set each instrument with optimal gain. Switching between inputs can be can be done using the front panel switch or via the optional JR2 remote footswitch. The instrument signal is immediately routed to a tuner output that is always on. When used with the JR2 footswitch, the Firefly may also be muted remotely for quiet on-stage tuning. Both the footswitch and front panel are equipped with LED indicators for status monitoring. Following the award winning Radial JDV, the Firefly’s front end circuit is 100% discrete class-A and is void of any circuit stabilizing negative feedback. This produces a more open, less constricted sound. The Firefly is also equipped with Drag Control load correction that enables the artist to adjust the load on the magnetic pickup for a much more natural rendering. When bypassed, the load jumps to 4 meg-ohms enabling the Firefly to be used with piezo pickups such as common with upright bass and other acoustic instruments. The exceptional warmth and detail is achieved by combining Radial’s unique front end with an all new12AX7 tube drive circuit. Contrasting the input sensitivity with the output drive enables the artist to fine tune the grit or edge to give the sound more character. And to add even more fun, the Firefly comes shipped with two 12AX7 tubes, a select premium tube for audiophile performance and a low-fi version for added growl.
Connectivity is extensive: The rear panel begins with two stacked ¼” instrument inputs. A second set of stacked ¼” jacks presents the user with a buffered thru-put that delivers either the original instrument’s tone or the output from the tube circuit. Below, an insert jack enables one to add in effects in series with the tube drive circuit and apply the effects to the overall sound. The third set of stacked jacks feature a tuner output and a TRS jack for the JR2 remote control. The Radial transformer coupled XLR output is outfitted with a ground lift switch and a 180º polarity reverse. This can be helpful when controlling feedback or interfacing with older vintage gear. Power is supplied via an exterior switching supply for 100V to 240V operation and delivers a variable output that ranges from a typical unity gain DI level to a full +4dB line level for direct recording.

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Ok so this not sound that exciting in itself. When you actually see what it is I am sure you interest will rise. They are going to launch the all-new Mackie DL1608™ 16-Channel Digital Live Sound Mixer with iPad® Control. This will give you the ability to mix the audio from anywhere with in the venue. So with your iPad plugged in you will have control over 16 channels of audio. This appears to a rather neat idea.The info gained from the website looks pretty cool. The ability to use your iPad as part of the console and processing power is certainly unique. For small bands this could be a way for them to enter the digital console age. You use the ipad to access all of the variuos parametes like eq, effects and dynamic processors.

Is this the way of the future, using another piece of technology to power another piece of technology. This is an exciting concept and Mackie are to be aplauded for this. It will be interesting how it stacks up with other small format mixers produced by other companies.

So what is in this box of tricks.

Well with the addition of a wireless router you can grab the iPad from the console and adjust the mix from any position. Tune the PA or the foldback.
The DL1608 comes with 16 Onyx mic preamps that deliver depth, headroom and immense detail to your live mix. Plus, with 12 XLR and four combo mic/line inputs, connecting mics and instruments is quick and easy.

DL1608’s has 24bit Cirrus Logic® AD/DA converters with a stated 114 db dynamic range. This should be more than enough for most input sources.
Every channel is loaded with a variety of powerful plug-ins. This will certain mean less gear for bump in. Thereare 4-band EQ, compression and gate plug-ins. Plus, sweeten your sound with a full-featured reverb and tap delay or adjust your mix to the room with the 31-band graphic EQ and compressor/limiter on the main and aux outs.
It support for up to 10 iPads, so each band member could adjust thier foldback.
Snapshot control which is the ability to recall mix settings.You can recall sound check settings for multiple bands, complex song mixes, previous mixes from challenging venues, recall scenes for theater productions and more. You can even pre-set the mixing board and be ready to go the moment you arrive. (Mic pre-amp gains are not recallable.)
Channel presets, there are a bunch of presets such as kick drum, keyboard etc you can assign to a channel. You can also store your own channel presets as well.
You can also make a 2 track recording from the stereo outputs directly to the iPad.
You can intergrate music from any app running on the iPad. So you can play pre-show music or add a Garage band track to your mix. you can bring the stereo output from theses apps, these come in on a dedicated iPad channel, therefore not using any of the 16 channels.

If I can get my hands on one I will write a full review, so fingers crossed. So if you are interested I suggest you visit the Mackie website for further infomation. I believe it is going to be very reasonably priced. So Mackie want to lend me one 🙂

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Well the CX Roadshow is on its way this year and looks like it is going to be a great chance to network and also exchange ideas and learn about future trends.
There will plenty of seminars and people to meet and network with.

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Well in Adelaide at least it is nearly time for the Festival and the Fringe. For the audience it is a matter of just organizing tickets and going to see the show. But for the artists it is a lot more involved. Not only do they need to write, rehearse and perform, but they need to organize the venue, do budgets and make sure that all the aspects that the audience does not see are all organized. If not the show could become a rather nasty disaster.

One area that to me seems to be not often thought about is the technical side. Having been involved with several Fringes and productions, it is often a blank look you get when you ask the companies about their technical requirements. This is not to say that all are behind in this aspect. The purpose of this article is to help those that might have left it a little late, or do not have the expertise in this department. We do want your show to be a success and also not to cheese of the venue that you are performing at.

First of all get as much technical info about the venue as soon as possible. The sort of information that you will find useful is floor plans, equipment lists and the contact details of the resident technician. This resident tech is going to become your next best friend. This is especially true if you live a long distance from the venue and therefore are not able to visit. The tech is going to know exactly what is possible in the venue. Keep asking questions as your show evolves. Remember you are likely to have a set lighting rig so you are not going to able to rig and focus the lights exactly as you would like them, you need to compromise without complaining.

To make things easy for techs you could send them a script, potential ideas and maybe if the production has been staged before some photos. There is always a possibility that they may be able to incorporate some ideas into the standard rig. All this info can make everybody’s jobs easier. Now if there is extra gear required you need to organize this in advance. Again pay attention to local knowledge, the venue tech may be able to lay their hands on what you need. This extra will need to be organized as soon as possible, as with many festivals there could be a shortage locally.

As with many Fringe venues there are going to be several shows each night back to back. So there will always be little time to set up and bump out. So you need to take this into consideration. My advice is always to try and keep it simple. Remember simple can be really effective and really is in keeping with the concept of Fringe festivals. If you are bringing in gear to playback audio and video make sure it is of professional quality. Do not expect to play music from your phone or iPod device. A CD would be much better, or even a computer file. And no I-Tunes is not professional playback software, it will give you headaches on production days. Most venues will have a CD player, or the tech might have his favourite software. It would be a good idea to go with what they are familiar with. In fact if you forward the tracks to them early they can have them already to play.

Now you arrive at the venue, and you got a truck load of scenery. Where are you going to store it? This is another consideration that you need to think about. Set and props can take up a lot of space backstage and also time to set up. So you need also to carefully think about what you need and don’t need.

If you are going into a “found Venue” and you are the only group using it, you need to make sure you have everything arranged well in advance, and have contingency plans in place. You will need to plan for ever eventuality technically. Here you will need to visit the site and measure, photograph and ask the owner/landlord a million questions. You then need to make sure you have plenty of time to get it all happening and also make sure you have enough people to make it happen. No point in pulling overnighters and half killing yourself, that is not what this is about.

You need to make sure that you comply with the local regions Occupational Health and Safety regulations. It would be a good idea to in fact investigate, and make phones calls to find out what you can and cannot do. No point in breaking the law and being shut down.

And last but not least, actually plan and budget for the technical staff costs. Too often this is left until the last minute when the tech asks how much am I going to get paid. Always plan to pay, none this “let’s get in a student, it will be good experience” You still need to give them something.

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People often have the belief that the career of a roadie is a glamorous one. Rubbing shoulders with stars as we go about our business. But this is far from the truth. The job entails long hours; the work is hard and at times dangerous. We work to crazy deadlines, often with little sleep. The pay is often not great, and the strain on your body can be horrendous, lifting road cases of unbelievable weight, climbing to great heights, suffering falls, electric shocks and I could go on. This is the side that the audience never sees; this is the real hard work. The longs pushing roadcases up and down ramps, the hauling trusses, the endless bad coffee.

The toll on the road crew both physical and mental can be staggering. Burnout is often the cause of many people quitting the industry. But there are those that have passed away. They may have passed away due to an accident, suicide or other causes. But they are all part of our brotherhood; we should honor our fallen comrades. These are guys that brought joy and magic up there on the stage, but you never see them on stage. These road warriors work backstage making those on stage appear brilliant.

So take time on the 20th January 2012 to quietly reflect on those that have gone. This is an online event that was created by Crewspace and WorldWideCrew.org

Take time to watch the memorial video prepared for the event by Mical Caterina.

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Allen & Heath are set to release a new range of consoles onto the market. This is the new GLD range.These are a user-friendly, cost effective and scalable live digital mixing system, conceptually based on the hugely successful digital iLive series. A standard GLD 32 input system offers 28 XLR mic inputs with plug n’ play I/O expanders allowing easy expansion up to 48 inputs (44 XLR mic inputs).

At the heart of the system is the GLD-80 mixer, providing 48 input processing channels, 8 stereo FX returns fed by iLive’s acclaimed FX emulations, 30 configurable buses, 20 mix processing channels, and DSP power to provide full processing without compromise.

GLD-80 has an analogue-style channel processing control section complemented by a graphical 8.4 inch touch screen. A fully-customisable drag ‘n drop layout allows quick and easy assignment of inputs and mixes to fader strips. There are 20 fader strips in 4 layers, each with motorised fader, a channel LCD display which can be named and colour-coded, plus a rotary control for direct access to gain, pan and aux/FX sends. The mixer‘s local I/O comprises 4 XLR mic/line inputs, 4 XLR line outs, 4 RCA inputs, 2 RCA outputs, and digital outputs in SPDIF and AES3 formats.

The GLD-80 connects to a range of plug ‘n play I/O racks to ‘build’ 28, 36 or 44 mic input systems. A primary AR2412 rack (24 XLR inputs, 12 XLR outs) and up to two AR84 expander racks (8 XLR inputs, 4 XLR outs each) can be connected over 120m CAT5 runs using A&H’s dSNAKE protocol. dSNAKE provides control to the remote preamp, and all mic preamps are scene recallable. AR2412 also includes a connection for personal monitoring systems.

GLD has the ability to record and playback a stereo signal on a USB memory stick. Standard iLive audio I/O option cards for Dante, MADI, EtherSound and Allen & Heath’s ACE protocols can be fitted, allowing multi-channel record/playback, FOH/monitor splits, and connection to A&H iLive systems, which can easily be configured using GLD’s extensive soft-patching.

“Designing a system which is suitable for both the professional engineer and occasional user has been a priority. With GLD, our aim was to take much of the complexity out of digital mixing, opening up the tremendous benefits of digital technology to a wider group of customers, such as the rental companies, houses of worship and live venues where our GL series analogue mixers have been working so successfully for years,” comments A&H MD, Glenn Rogers. “GLD offers high quality processing and stunning sonic performance. Key to the system is GLD’s remote plug ’n play I/O audio racks for flexible, easy set-up system building.”